Zitate von Muriel Rukeyser

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Muriel Rukeyser

Geburtstag: 15. Dezember 1913
Todesdatum: 12. Februar 1980

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Muriel Rukeyser war eine US-amerikanische Schriftstellerin, Übersetzerin und politische Aktivistin. Ihr Leben und Werk wurde von den Themen Gleichberechtigung, Feminismus, soziale Gerechtigkeit und Judentum bestimmt.

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Zitate Muriel Rukeyser

„The Universe is made of stories, not of atoms.“

— Muriel Rukeyser
"The Speed of Darkness"; this line is sometimes misquoted as "The Universe is made of stories not atoms."

„The continuity of film, in which the writer deals with a track of images moving at a given rate of speed, and a separate sound-track which is joined arbitrarily to the image-track, is closer to the continuity of poetry than anything else in art.“

— Muriel Rukeyser
Context: The continuity of film, in which the writer deals with a track of images moving at a given rate of speed, and a separate sound-track which is joined arbitrarily to the image-track, is closer to the continuity of poetry than anything else in art. But the heaviness of the collective work on a commercial film, the repressive codes and sanctions, unspoken and spoken, the company-town feeling raised to its highest, richest, most obsessive-compulsive level in Hollywood, puts the process at the end of any creative spectrum farthest from the making of a poem. At the same time, almost anything that can be said to make the difficulties of poetry dissolve for the reader, or even to make the reader want to deal with those "difficulties," can be said in terms of film. These images are like the action sequences of a well-made movie — a good thriller will use the excitement of timing, of action let in from several approaches, of crisis prepared for emotionally and intellectually, so that you can look back and recognize the way of its arrival; or, better, feel it coming until the moment of proof arrives, meeting your memory and your recognition. The cutting of films is a parable in the motion of any art that lives in time, as well as a parable in the ethics of communication. p. 150

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„Here is your road, tying you to its meanings“

— Muriel Rukeyser
Context: Here is your road, tying you to its meanings: gorge, boulder, precipice. Telescoped down, the hard and stone-green river cutting fast and direct into the town. "The Road"

„Moment to moment, we can grow, if we can bring ourselves to meet the moment with our lives.“

— Muriel Rukeyser
Context: Poetry is, above all, an approach to the truth of feeling, and what is the use of truth! How do we use feeling? How do we use truth! However confused the scene of our life appears, however torn we may be who now do face that scene, it can be faced, and we can go on to be whole. If we use the resources we now have, we and the world itself may move in one fullness. Moment to moment, we can grow, if we can bring ourselves to meet the moment with our lives. Chapter One : The Fear of Poetry

„We would try by any means
To reach the limits of ourselves, to reach beyond ourselves,
To let go the means, to wake.“

— Muriel Rukeyser
Context: We would try to imagine them, try to find each other, To construct peace, to make love, to reconcile Waking with sleeping, ourselves with each other, Ourselves with ourselves. We would try by any means To reach the limits of ourselves, to reach beyond ourselves, To let go the means, to wake. "Poem" — these lines are among those quoted on the The Pacifist Memorial http://www.peaceabbey.org/memorial/memorial.htm

„If there is a feeling that something has been lost, it may be because much has not yet been used, much is still to be found and begun.“

— Muriel Rukeyser
Context: In this moment when we face horizons and conflicts wider than ever before, we want our resources, the ways of strength. We look again to the human wish, its faiths, the means by which the imagination leads us to surpass ourselves. If there is a feeling that something has been lost, it may be because much has not yet been used, much is still to be found and begun. Everywhere we are told that our human resources are all to be used, that our civilization itself means the uses of everything it has — the inventions, the histories, every scrap of fact. But there is one kind of knowledge — infinitely precious, time-resistant more than monuments, here to be passed between the generations in any way it may be: never to be used. And that is poetry. Chapter One : The Fear of Poetry

„In time of the crises of the spirit, we are aware of all of need, our need for each other and our need for ourselves. We call up our fullness; we turn, and act.“

— Muriel Rukeyser
Context: In time of the crises of the spirit, we are aware of all of need, our need for each other and our need for ourselves. We call up our fullness; we turn, and act. We begin to be aware of correspondences, of the acknowledgement in us of necessity, and of the lands. And poetry, among all this — where is there a place for poetry? If poetry as it comes to us through action were all we had, it would be very much. For the dense and crucial moments, spoken under the stress of realization, full-bodied and compelling in their imagery, arrive with music, with our many kinds of theatre, and in the great prose. If we had these only, we would be open to the same influences, however diluted and applied. For these ways in which poetry reaches past the barriers set up by our culture, reaching toward those who refuse it in essential presence, are various, many-meaning, and certainly — in this period — more acceptable. They stand in the same relation to poetry as applied science to pure science. p. 169; part of this statement is also used in the "Introduction"

„In time of crisis, we summon up our strength.
Then, if we are lucky, we are able to call every resource, every forgotten image that can leap to our quickening, every memory that can make us know our power. And this luck is more than it seems to be: it depends on the long preparation of the self to be used.“

— Muriel Rukeyser
Context: In time of crisis, we summon up our strength. Then, if we are lucky, we are able to call every resource, every forgotten image that can leap to our quickening, every memory that can make us know our power. And this luck is more than it seems to be: it depends on the long preparation of the self to be used. In time of the crises of the spirit, we are aware of all our need, our need for each other and our need for our selves. We call up, with all the strength of summoning we have, our fullness. Introduction

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„Poetry is, above all, an approach to the truth of feeling, and what is the use of truth!“

— Muriel Rukeyser
Context: Poetry is, above all, an approach to the truth of feeling, and what is the use of truth! How do we use feeling? How do we use truth! However confused the scene of our life appears, however torn we may be who now do face that scene, it can be faced, and we can go on to be whole. If we use the resources we now have, we and the world itself may move in one fullness. Moment to moment, we can grow, if we can bring ourselves to meet the moment with our lives. Chapter One : The Fear of Poetry

„Local images have one kind of reality. U.S. 1 will, I hope, have that kind and another too. Poetry can extend the document.“

— Muriel Rukeyser
Context: This is to be a summary poem of the life of the Atlantic coast of this country, nourished by the communications which run down it. Gauley Bridge is inland, but it was created by theories, systems, and workmen from many coastal sections — factors which are, in the end, not regional or national. Local images have one kind of reality. U. S. 1 will, I hope, have that kind and another too. Poetry can extend the document. Note, on "The Book of the Dead"

„Daring to live for the impossible.“

— Muriel Rukeyser
Context: The whole and fertile spirit as guarantee For every human freedom, suffering to be free, Daring to live for the impossible.

„Experience taken into the body, breathed-in, so that reality is the completion of experience, and poetry is what is produced. And life is what is produced.“

— Muriel Rukeyser
Context: Experience taken into the body, breathed-in, so that reality is the completion of experience, and poetry is what is produced. And life is what is produced. To stand against the idea of the fallen world, a powerful and destructive idea overshadowing Western poetry. In that sense, there is no lost Eden, and God is the future. The child walled-up in our life can be given his growth. In this growth is our security. p. 221

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„Poetry is foreign to us, we do not let it enter our daily lives.“

— Muriel Rukeyser
Context: Poetry is not; or seems not to be. But it appears that among the great conflicts of this culture, the conflict in our attitude toward poetry stands clearly lit. There are no guards built up to hide it. We call see its expression, and we can see its effects upon us. We can see our own conflict and our own resource if we look, now, at this art, which has been made of all the arts the one least acceptable. Anyone dealing with poetry and the love of poetry must deal, then, with the hatred of poetry, and perhaps even Ignore with the indifference which is driven toward the center. It comes through as boredom, as name-calling, as the traditional attitude of the last hundred years which has chalked in the portrait of the poet as he is known to this society, which, as Herbert Read says, "does not challenge poetry in principle it merely treats it with ignorance, indifference and unconscious cruelty." Poetry is foreign to us, we do not let it enter our daily lives.

„The poetic image is not a static thing. It lives in time, as does the poem.“

— Muriel Rukeyser
Context: The poetic image is not a static thing. It lives in time, as does the poem. Unless it is the first image of the poem, it has already been prepared for by other images; and it prepares us for further images and rhythms to come. Even if it is the first image of the poem, the establishment of the rhythm prepares us — musically — for the music of the image. And if its first word begins the poem, it has the role of putting into motion all the course of images and music of the entire work, with nothing to refer to, except perhaps a title. p. 32

„Belief has its structures, and its symbols change. Its tradition changes. All the relationships within these forms are inter-dependent.“

— Muriel Rukeyser
Context: Belief has its structures, and its symbols change. Its tradition changes. All the relationships within these forms are inter-dependent. We look at the symbols, we hope to read them, we hope for sharing and communication. Sometimes it is there at once, we find it before the words arrive, as in the gesture of John Brown, or the communication of a great actor-dancer, whose gesture and attitude will tell us before his speech adds meaning from another source. Sometimes it rises in us sleeping, evoked by the images of dream, recognized in the blood. The buried voices carry a ground music; they have indeed lived the life of our people. In times of perversity and stress and sundering, it may be a life inverted, the poet who leaps from the ship into the sea; on the level of open belief, it will be the life of the tribe. In subjugated peoples, the poet emerges as prophet. p. 96

„A poem does invite, it does require.“

— Muriel Rukeyser
Context: A poem does invite, it does require. What does it invite? A poem invites you to feel. More than that: it invites you to respond. And better than that: a poem invites a total response. This response is total, but it is reached through the emotions. A fine poem will seize your imagination intellectually — that is, when you reach it, you will reach it intellectually too — but the way is through emotion, through what we call feeling. Chapter One : The Fear of Poetry, p. 8

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